Little Red should rightly see Katy B cement her ascent to the stratosphere, joining the rest of dance music’s glitterati.

Earworm guitar licks and choir-like harmonies sprout unexpectedly from Goat Girl’s skeletal, unpredictable songs like wildflowers in landfill.

As a collection, Father of the Bride holds together remarkably well. This is not some grand tome where these indie vets try and break new sonic territory every track for better or worse. Here we see a bunch of thirty-somethings letting go of some past anxieties and leaning into newfound securities. It's a relaxed record happily borrowing from the modern American songbook, a little Fleetwood Mac here, a little Paul Simon there.

A testament to vehement artistry, ‘On Sunset’ finds Paul Weller refusing to let his fire dim.

As righteously indignant and vital as ever, ‘Come Ahead’ is another high in a career full of them.

A band whose early commercial ubiquity shouldn’t obscure the continued creative vitality of their work, Maximo Park open a fresh era with some of their finest work in a decade.

The music is bright and unconfined, making it the perfect album for catharsis.

'Big Time' is a focused record that contains stunning examples of vulnerability, almost too exposed to watch. Her ability to shed layers artistically and emotionally, over and over, leaves you excited to see where her next destination may be.

With ‘Layover’, V’s intentions were clear. He obviously had a distinct sound that he wanted to stick to, his vision clear inhabiting by his sense of self. The influence of jazz and R&B is evident and the execution is slick.

It’s when EOB dares to experiment that 'Earth' really lifts off. The erratic, rumbling distortion of 'Mass' is as eerie as the thought of space itself, where his sounds tell a greater story than words ever could.

‘Broken Algorithms’ is a sizeable misfire from its title onwards, thundering about with the ham-fisted bluster of much of their debut, ‘Generation Terrorists’. Its digital focus is at odds with an album besotted with faded analogue beauty.

The result is an album soaked in nostalgia and melancholy but retains the razor-sharp edge that make shame so brilliant.

A work of subtle evolution, it’s a record that rewards repeated listens, with patience allowing these fresh elements to rise to the surface on an album that underlines Bonobo’s role as one of UK electronic music’s most consistent, and pervasive voices.

Just like all the very best albums, I Tell A Fly is by turns thought provoking, musically challenging and genre defying but perhaps more importantly, it imbues a sense of uniqueness that suggests you can’t imagine anyone else making it.

Lovely tunes and scrupulous attention to detail make Resolve Poppy’s best album to date, equally suitable for quiet relaxation as well as a more conscious enjoyment.

‘2000’ is a distinctly Joey Bada$$ project, although it doesn’t necessarily tread entirely new conceptual grounds, the spaces it does occupy are well thought out and exceptional for a reason. This album is another brilliant example of why Joey Bada$$ is such a powerhouse in hip-hop.

Kali has created a lucid dreamscape where you can be whatever you want to be, self-venerated and free. Isolation is an escapist escapade of the highest order.

Future Islands’ fans will find plenty to love with this album, with some of the songs here already instant favourites and others feeling like some of the best, most fully realised of their career thus far.

After the cheap--but definitely magical--thrills of her debut, this is a slow-burning triumph.

A record that spirits the listener along at quite a pace, its already relatively concise thirty-five minutes stirring a melodic whirlwind.

It is a very enjoyable, incomparable album, with moments of extraordinary depth.

Both bold and filled with bravado, yet layered and emotional, YBN Cordae is able to convey his desires, hopes, and fears in an ambitious and well-thought out format. A strong debut from an artist who knows that he is capable of long-term success.

It succeeds in bringing a 90s aesthetic kicking and screaming in to the 21st century, shedding the nostalgia in favour of contemporary pop pomp, all delivered with Jim Adkins’ trademark optimism and heart-on-sleeve lyricism.

With Face Your Fear, Harding has given us a captivatingly concise project brimming with soulful and pensive reflection.

After a few listens you get the feeling Art Brut are generally excited to be recording together again. The time apart has done them the world of good, as the enthusiasm they exude is infectious. Argos’ vocals have aged well and now have a warming tone, but the snarky bite still remains.

‘Serpentina’ speaks to her craft, elevating her talents as a musician as she sheds through her layers and births a new and transformed performer.

This feels like an important record, one that opens up a conversation that has largely been excluded from the mainstream for much too long. Above all this, though, is the sheer marvel of the musicianship, the endless innovation, the continual improvisation that makes My East Is Your West such a surprising, and truly enjoyable listen.

Every Baroness album before this has featured huge shifts in style, this being the one where they take the best of each to create a propulsive, thrilling whole.